Pages tagged with "Elizabeth Hands"http://www.rc.umd.edu/taxonomy/term2/22566/all
enSession 5C: Aesthetics and the New Canonhttp://www.rc.umd.edu/reference/misc/confarchive/6c.html
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<h3>5C. Aesthetics and the New Canon: Challenges of Class and Gender</h3>
<p><a class="c3" href="#Binfield">Kevin Binfield</a> (Murray State): "Towards a Working Class Romanticism: The Aesthetics of the Luddites"<br/>
<a class="c3" href="#Harris">Katherine Harris</a> (New York): "Considerable Minorities in British Annuals/Gift Books: A Selection of Poetry Published in Friendship's Offering"<br/>
<i>Frankie Allmon</i> (Indiana): "Paradoxes of Propriety and Property: The 'melancholy tale' of Hannah More and Ann Yearsley"</p>
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<b><a name="Binfield" id="Binfield">"Towards a Working Class Romanticism: The Aesthetics of the Luddites"</a></b><br/>
<i>Kevin Binfield<br/>
Murray State</i>
<p>Changes in the Romantic canon, especially the (re)discovery of several women writers, have added bulk and variety to the body of literature available for reading and teaching, without, however, reconsidering the class orientation of the canon itself. Prior to and at the early stages of the expansion of Romanticism, books such as Martha Vicinus's The Industrial Muse and Donna Landry's The Muses of Resistance pointed readers toward authors and texts that might challenge an established Romantic aesthetic. Landry's book, in particular, gets its share of praise from scholars, but even most of the scholars engaged in the creation of the new anthologies maintain a leisure-class orientation and its accompanying aesthetic in selecting texts for inclusion. The new Romantic canon might include Charlotte Smith, Joanna Baillie, Anna Laetitia Barbauld, and Felicia Hemans, but it includes them on the basis of an aesthetic that suggests their influences upon established male Romantics, or their priority in engaging a Romantic dialogue of political interest, or their employment of a (highly classed) sentimental gaze upon the plight of the poor. The aesthetic itself has not changed (as one participant at the "Scenes of Writing" Conference said, "Doggerel is doggerel") despite the new availability of texts that might point the way toward a further reconsideration of the aesthetic basis of canon formation.</p>
<p>In this paper I propose that an initial step toward reconsidering the classed aesthetic underlying the current Romantic canon might be to outline the poetics of a community of working-class authors, specifically the Luddites. The Luddites not only were breakers of the textile machinery used by capitalist hosiers and mill owners to drive down wages but also were writers of a wide variety of texts: petitions, threatening letters, broadside proclamations and, most importantly for this paper, poems and songs. I shall illustrate my argument with a few selections from over twenty songs and poems that I have collected as part of a book, The Writings of the Luddites, currently under contract with Johns Hopkins.</p>
<p>First, why study a community of plebeian writers whose textual work was not only usually collective but also anonymous? Studying working-class writing outside of such a working-class community would raise interesting questions of reception by a larger (or a smaller, but more dominant) culture. For example, studying the work of Elizabeth Hands, a Warwickshire domestic servant whose single published volume, The Death of Amnon, attracted the support of over 1000 subscribers and minor literary artists of the leisure classes, would tell us much of the reception of working-class poetry by the leisure classes and the poet's crafting for such reception. A study of poetry which is written "from below" but which looks "above," as Hands's verses do, nevertheless assumes from the beginning a critical anchoring in an established and more easily discernible poetics. I believe that a remedy to this tendency can be found in attending to the dynamics of authorship within a closed community, a circle of writers similarly situated. Such an approach might indicate the parameters of a working-class aesthetic undertaken or manifested more on its own terms. A question might be phrased in the following manner: What aesthetic is possible or likely in a group whose dominant external discursive interest is socio-economic change advantageous to the trade and to the community rather personal Parnassian glory or personal material gain?</p>
<p>In addressing that question, it is necessary to make some qualifications. Luddite writers did, in fact, look "above" to the recipients of some, but not all, of their writings; however, the mode of looking above is probably more restricted to a material and non-aesthetic effect than Hands's mode, for example. Hands sought an aesthetic approval that would have a material significance^&#247;the underwriting and purchasing of her volume^&#247;but the Luddites sought no approval of that sort. When a known Luddite, Thomas Large, a framework knitter from Nottingham, sent to Thomas Allsop, a framework knitter at Leicester, some verses enclosed in letters, Large sought only the approval of his fellows in the framework knitters' company. Allsop shared Large's poems ("The Death and and Last Confession of Colting," for example) with other knitters, who reportedly derived tremendous pleasure from them, but the poems were never circulated outside of the knitting trade. In fact, most Luddite verses were songs composed communally in homes or taverns, added to and revised in processes that are mentioned but not thoroughly described in documents from the period^&#247;among them, the prosecutor's notes for the case Rex v. Milne and Blakeborough. When the verses were posted on walls, they were not received with aesthetic pleasure. Rather, the authorities and the master hosiers read them as threatening and Luddite sym non-aesthetic effect than Hands's mode, for example. Hands sought an aesthetic approval that would have a material significance^&#247;the underwriting and purchasing of her volume^&#247;but the Luddites sought no Triumph") against external, threatening texts (such as "Well Done, Ned Ludd" and the "Declaration" against Charles Lacey) indicates.</p>
<p>As internally aestheticized texts, the Luddite verses have a number of more or less distinguishing traits. Some traits, such as the poems' metrical resemblance to dissenting and Anglican hymns and their employment of "low" customary forms or their parodying of "high" literary and legal forms, are predictable; other characteristics are less obvious. The Large-Allsop correspondence indicates one less obvious characteristic of Luddite versifying: the Luddite poet assumed shared but limited knowledge of an immediately pertinent context. Generally speaking, the verses do not establish or create a sense of context accessible to those outside of the discursive circle. Luddism has, of course, its own vocabulary, but, more importantly, it also permits its verse to begin without preface or introduction. such differences in reception, as a comparison of wholly internal documents (such as Large's poems and the anonymous "General Ludd's).</p>
<p>The dominant mode of Luddite verse is exhortation. Despite the predominance of balladry represented in collections of the songs of the folk (Roy Porter's volumes serve as excellent examples of such collections), narrative is remarkably absent from Luddite verse. More precisely, narratization of past events is absent. For the most part, anything resembling narrative appears within exhortation as a projected configuration of present threat, present recognition, and future action. Past threat is less important than present recognition and action in the immediate future. Furthermore, the nature of the past is especially significant, and demonstrates an alignment of Luddite poets with pre-Romantic and early Romantic poets. The Luddite writers assume the special value of a geographically local past; however, the Luddite local past differs from the Wordsworthian local past in that the Luddite past is much more highly troped and far more unusually temporalized than Wordsworth's. The Luddite writers speak, for example, of a return to the economic practices of a recent past but summon a variety of tropes form a distant past (Robin Hood tropes, as one example) to hearten listeners and readers to take action to retrieve that past.</p>
<p>At this very promising time, when cultural materialism and research into plebeian culture is discovering and making accessible texts that permit Romantic-period writers of the working classes to speak for themselves rather than be spoken about from above, attending to the collective and internally aesthetic nature of closed circle plebeian writing might enable Romantics scholars to question the aesthetic presupposition underlying the Romantic canon. It might be possible to look beyond the doggerel and find an alternative conception of poetic craft.</p>
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<b><a name="Harris" id="Harris">"Considerable Minorities in British Annuals/Gift Books: A Selection of Poetry Published in Friendship's Offering"</a></b><br/>
<i>Katherine Harris<br/>
New York</i>
<p>The phrase "literary canon" has become the subject of numerous books, talks, and curriculum in recent years, especially with respect to women's poetry of the long nineteenth-century. Should we consider works by women solely based on gender? Or should we consider these works by an aesthetic valuation? Both questions create more questions than answers: Does eliding gender difference discriminate against poetry written by women or enhance it?</p>
<p>Canonization or anthologizing women's poetry from the nineteenth century may also perform the same aesthetic discrimination against men solely based on gender. On the other hand, doesn't grouping poetry based on gender still marginalize that poetry, extracting it from the standard "canonical" texts because the aesthetic valuation is rigidly based on a patriarchal value system? How do we integrate this "re-discovered" poetry that was lost because women didn't have an easily available outlet to publish their works? The questions above have fueled my readings of lesser known women poets. I resist marginalizing women's writing based on their gender and seek to enhance our understanding of some early Victorian women's poetry, tracing an echoing voice among some of the poetry while still allowing for individuality within the private sphere of the feminine.</p>
<p>Women writers of the 19th Cent. were divided between social expectations and private pursuits, reflecting the public and private binary and masculine and feminine conflict within women's poetry. Women had been taught rigid definitions of femininity, and those who explored the masculine realm of writing suffered "not simply the powerlessness which derives from not seeing one's experience articulated, clarified, and legitimized in art, but more significantly, the powerlessness which results from the endless division of self against self, the consequence of the invocation to identify as male while being reminded that to be male--to be universal-- . . . is to be not female." (Schweickart 41-2). The repressed, the antithetical, the borders -- these are the areas I'm probing in this re-discovered poetry in order to examine the subject and object position that a woman poet grapples with in her poetry (Gilbert &amp; Gubar).</p>
<p>With the introduction of literary Annuals in 1823, women became privileged as readers due to the popularity of the Annuals and economic benefits to publishers. Gender becomes central to economic success: women as poets attract the largest readership -- women. Women's poetry supposedly advocated the Angel in the House (though pre-Patmore), insisting on an ideology centered around "the primacy of the male head of the household." In this passive role, women give up subjectivity and merely occupy an object-role. Women's poetry in the Annuals was intended to reflect this ideology, but the women poets managed to subvert the ideology and still have their work published.</p>
<p>In establishing the female poetic voice, the Victorian women echo one another in their poetry, imitating a conversation of sorts which considers topics of fame and domesticity and allows the poets to speak as women to women without objectifying themselves. The obscure poetry examined in this essay comes from British Annuals or gift books, published between 1824 and 1850. Poetry published in these Annuals, i.e., Friendship's Offering, The Gem, The Iris, etc., became categorized with other popular literary culture publishings. As a result, it is devalued aesthetically in its own historical moment and in present academic archaeology. There has been no significant study of the publication, practices, evolution, popularity, and literature of the Annuals (aside from Andrew Boyle's index of the authors).</p>
<p>Between 1800 and 1830, Romantic aesthetic and Victorian preoccupations become a liminal space for women's poetry -- at first only allowing women individuality through subversive metaphors in poetry. Women adopted the poetic devices of the major Romantic poets, but they incorporated undertones of negative domesticity. Women poets in these Annuals also recapture the feminine sentiment usurped by the Romantics -- the sentimental private space of the poets mind that is able to interpret nature in conjunction with personal feelings.</p>
<p>Specifically examined in this essay are poems from three volumes of Friendship's Offering, published in Britain in 1827, 1831, and 1832; the poets include Felicia Hemans, Mary Howitt, Maria Jane Jewsbury, Mrs. Josiah Conder, L.E.L., Mrs. Norton, Agnes Strickland, Susanna Strickland, Mrs. Cornwell Baron Wilson, and "Rosa." Very few of these poems appear in the recent anthologies, which endeavor to recover women poets of the nineteenth century. The poems come from a collection of gift books that I excavated from the Fales Special Collections Library at New York University.</p>
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<h6>Last updated May 31, 1999<br/>
by Kathleen McConnell</h6></div></div></div><section class="field field-name-field-parent-section field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Section:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/node/31537">Scholarly Resources</a></div></div></section><section class="field field-name-field-resource-index field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Resource:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/reference/misc/confarchive/index.html">Conference Archive</a></div></div></section><section class="field field-name-taxonomy-vocabulary-3 field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Tags:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/category/tags/gender" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">gender</a></li><li class="field-item odd"><a href="/taxonomy/term/613" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">class</a></li><li class="field-item even"><a href="/taxonomy/term/1579" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">canonicity</a></li><li class="field-item odd"><a href="/taxonomy/term/1228" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">canon</a></li><li class="field-item even"><a href="/taxonomy/term/3599" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">canonization</a></li></ul></section><section class="field field-name-opencalais-person-tags field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Person:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/category/person/frankie-allmon" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Frankie Allmon</a></li><li class="field-item odd"><a href="/category/person/martha-vicinus" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Martha Vicinus</a></li><li class="field-item even"><a href="/category/person/elizabeth-hands" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Elizabeth Hands</a></li><li class="field-item odd"><a href="/category/person/felicia-dorothea-hemans" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Felicia Dorothea Hemans</a></li><li class="field-item even"><a href="/category/person/hannah-more" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Hannah More</a></li><li class="field-item odd"><a href="/category/person/thomas-large" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Thomas Large</a></li><li class="field-item even"><a href="/category/person/donna-landry" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Donna Landry</a></li><li class="field-item odd"><a href="/category/person/katherine-harris" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Katherine Harris</a></li><li class="field-item even"><a href="/category/person/ann-yearsley" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Ann Yearsley</a></li><li class="field-item odd"><a href="/category/person/thomas-allsop" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Thomas Allsop</a></li><li class="field-item even"><a href="/category/person/kevin-binfield" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Kevin Binfield</a></li></ul></section><section class="field field-name-opencalais-provinceorstate-tags field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">ProvinceOrState:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/category/province-or-state/indiana" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Indiana</a></li></ul></section>Fri, 04 May 2012 19:58:39 +0000rc-admin23042 at http://www.rc.umd.eduRobert Bloomfield: Lyric, Class, and the Romantic Canon, ed. White, Goodridge, and Keeganhttp://www.rc.umd.edu/reviews-blog/robert-bloomfield-lyric-class-and-romantic-canon-ed-white-goodridge-and-keegan
<div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even" property="content:encoded"><div id="caption" class="alignleft" width="239"><em>Robert Bloomfield: Lyric, Class, and the Romantic Canon</em>, ed. Simon White, John Goodridge, and Bridget Keegan (Lewisburg: Bucknell University Press, 2006). 315pp (ISBN-10: 0838756298).</div>
<h3>Reviewed by<br />
Ron Broglio<br />
Arizona State University</h3>
<p>Several years ago, Pickering and Chatto published three volumes of collected period poems entitled <em>Eighteenth-Century Laboring-Class Poets</em>, as well as another three volumes under the title <em>Nineteenth-Century Laboring-Class Poets</em>. Through this large project general editor John Goodridge and a list of volume editors have brought to light many lesser known poets, and they have contextualized better known peasant poets such as Stephen Duck, Mary Collier, Robert Burns, Ann Yearsley, Elizabeth Hands, Robert Bloomfield and John Clare. The formidable size of this handsome collection calls for scholarly inquiry into a large number of poets and poems which have seen only marginal attention. </p>
<p>Robert Bloomfield is one such laboring-class poet whose work has seen a revival of interest. Yet, as with many such marginal figures, scholarly work on Bloomfield has been scattered. The brilliance of editors Simon White, John Goodridge, and Bridget Keegan has been to bind into a single book collection a sampling of readings of this poet and his life's works. The collection seeks to validate Robert Bloomfield as a poet worthy of study and does so according to the metrics most commonly accepted by the profession today. There is a large amount of historicism in the volume. Some essays position the poet in relation to other laboring-class poets, and a few place him in the tradition of the picturesque. Bloomfield is best known for <em>The Farmer's Boy</em>, first published in 1800. There are several good essays on the poem, while the rest of the collection explores the poet's life and work prior to and after this central and defining work. The collection succeeds in making the case that Bloomfield is a poet whose work was not simply a passing fashion of the period, but is worthy of reflection and continued scholarship. As an aside, I do hope others will take up the call to publish similar collections on other laboring-class poets.</p>
<p>In his introduction, Simon White gives a brief biographical sketch of Bloomfield, and then traces his influence on John Clare and William Barnes, and through them onto Thomas Hardy, Patrick Kavanagh and Seamus Heaney. From here the collection moves to essays beginning with Bloomfield’s larger and better known works, and then moves on to smaller poems, and his relation to other poets.</p>
<p>In his excellent essay, "Illustrating <em>The Farmer's Boy</em>", Bruce Graver traces the publication history of the poem as Bloomfield navigates between the publishers Vernor and Hood, who wished to sell it as a quaint pastoral work, and the patron Capel Lofft, who touted the radical political implications of the poem (underscored by his own introduction). Most interesting about Graver's essay is that he makes the argument not only from historical records of transactions and correspondences but most strikingly through the commissions for illustrations to the poem. <em>The Farmer's Boy</em> has an extensive history of illustration, and Graver opens the conversation by following key shifts in early editions from the first rustic "primitive" woodcuts of John Anderson (a student of Thomas Bewick), to the later "softening process" of Nesbit's illustration of a pastoral poet who has all but abandoned labor in the field. Worth noting is that popular agricultural painters and engravers such as George Moreland and James Ward can be added to Graver's list of illustrators to the poem. </p>
<p><em>The Farmer's Boy</em> is not the only poem in which Bloomfield found himself caught between patron and publication. Tim Fulford and Debbie Lee trace a similar tension between poet and patron—in this case the famed doctor Edward Jenner—in the publication of <em>Good Tidings</em>, a work commissioned by Jenner to advocate his cross-species cure of cowpox to immunize against smallpox. Their essay "The Vaccine Rose: Patronage, Pastoralism, and Public Health" extends their work on smallpox from <em>Literature, Science and Exploration in the Romantic Era</em> (2004). As Fulford and Lee claim, Bloomfield was quite excited to be approached by Jenner for this commission. That Bloomfield's father and siblings died from smallpox certainly influenced his willingness to take the commission and their deaths are recorded in <em>Good Tidings</em>. Since Jenner made his discovery by refining folk wisdom regarding smallpox and cowpox, Bloomfield's rustic writings were a clear fit with Jenner's cure. But as Bloomfield found with Lofft and <em>The Farmer's Boy</em>, "Jenner . . . turned out to be another patron who wanted to present Bloomfield's words on his own terms to advance his own cause. . . . Jenner was a commercial operator, who had commissioned a poem as part of his own propaganda campaign" (155). Bloomfield found himself caught between the old patronage model for publication and the newer commercial market. </p>
<!--break--><p>Bridget Keegan's essay "Science, Superstition, and Song" complements Fulford and Lee's on the role of science and reason in Bloomfield's poetry. Keegan traces the life of the self-taught poet and his religious faith as one of piety and industry. His "humble Christianity was offered to counteract readers' suspicions that by writing poetry the author was aspiring beyond his or her God-given station in life" (197). <em>The Farmer's Boy</em> is replete with the "spiritual lessons of the rural scenery" and praise for "the morally salutary quality of rural life" (201). As evident in <em>The Farmer's Boy</em> and <em>Good Tidings</em>, Bloomfield disavows folk superstition and advocates the wedding of reason and Christian beliefs. </p>
<p>Several essays position the poet's work in relation to other pastoral poetry. Hugh Underhill puts Bloomfield next to Cowper and notes that while both have a sensitivity to place, Cowper maintains a picturesque distance from labor while Bloomfield is at home with the grit and detail of the bucolic. Underhill provides an excellent overview as to why Bloomfield's peasant poetry is invaluable for re-reading the picturesque. In "Labor and an Ethic of Variety in <em>The Farmer's Boy</em>", Kevin Binfield positions Bloomfield's work in relation to Thomson's georgic, <em>The Seasons</em>. While Bloomfield follows Thomson's episodic, descriptive and reflective structure, for Bloomfield the "task is to depict or recover in an active and not entirely monumentalizing manner that whole [of rural life]" (71). </p>
<p>Several authors bring to the general reader's attention lesser known works by Bloomfield. As such, these essays help the collection in becoming an authoritative introduction to the poet's oeuvre. Each essay provides a narrative introduction to the poem or collection, coupled with analysis of the work as a whole, while also marking crucial passages for investigation.</p>
<p>For Simon Smith, the lyric "My Old Oak Table" shows the peasant poet struggling to write amid the mundane and the domestic. The work is an extended meditation on the rough and rude table and its similarities to the poet, whose work does not have the polish and finesse of writers with greater education and social standing. Furthermore, the weary and worn quality of the table serves as an entryway for the poet to recall the many illnesses which plagued him and his family (a topic which crops up as well in "Shooter's Hill"). Tim Burke's essay "Colonial Spaces and National Identities in <em>The Banks of Wye</em>" explores "how Bloomfield, listening now with the ear of the tourist, hears the voices of the various fishermen, cart drivers, cow-herders, boat pilots, and gleaners of Monmouthshire amplified by the territorial ambiguity of the border country which they inhabit" (92). Burke compares and contrasts how Bloomfield populates his poem in relation to the picturesque reading of the terrain by William Gilpin and William Wordsworth. Burke sees Bloomfield's account as recovering the polyphonic and heterotopic traits of the region. In particular, Monmouthshire proves stubbornly complex, since it was counted as an English county but was redolent with Welsh history, culture, and geography. Scott McEatheron examines Bloomfield's early work "On Seeing the Launch of the <em>Boyne</em>" as a war poem that displays "a concern with the often contradictory demands of personal and national liberty in the period of the Napoleonic Wars" (213). Moving from the ship to the landscape and then the reason for the ship's creation, the poem works on "fittedness" and "scale" to show how the ship relates to humans, the ship-building city to the larger world, and humans to God. From McEatheron's essay the reader can glean a theme common to much of Bloomfield's work: inspiration from technologies (ships to agriculture, for example) which make the country great, and yet, just below this praise, a reluctant recognition of the violence enabled by these technologies and the nationalism they inspire. </p>
<p>In a well-wrought essay, "Georgic Ecology," Donna Landry positions the history of the georgic in relation to the pastoral: "The georgic ethos rewrites the pastoral as fantasy, and itself as pragmatic reality, but it cannot exist without feeding on the very pastoral it repudiates" (254). The essay puts Bloomfield in relation to Clare and Yearsley as georgic peasants thinking about landscapes. Other essays are as their titles indicate. William J. Christmas considers that while Bloomfield was a shoemaker in London (after his childhood days on a farm), he would have found himself amid "the largest representation among the ranks of artisans who joined the London Corresponding Society in the 1790s" (28). Christmas’ reading of the politics of horses, and what constitutes cruelty (such as tail docking) is interesting for animal studies, and his reading of the politics of the harvest-home feast in <em>The Farmer’s Boy</em> is astute. John Lucas traces the traditions of the May Day fairs. John Goodridge explores the scant instances of women's stories in Bloomfield and Clare, and Mina Gorji traces the use of Thomas Gray's <em>Elegy Written in a Country Churchyard</em> as a way of framing the biography and works of peasant poets. The collection concludes with a useful checklist of works and editions of works by Bloomfield.</p>
<p>Current scholarship is almost without exception invested in historical-biographical approaches to literature, with a bit of cultural studies at the margins. Thinking in new, critical ways in Romantic studies increasingly has come to mean thinking about new authors, rather than shifting the ground of thought itself. We've yet to find new ways into the works of laboring-class poets, but this is not the goal of this collection. Rather, <em>Robert Bloomfield: Lyric, Class, and the Romantic Canon</em> provides historical and cultural readings of the poems in order to nudge the "the Romantic Canon" a little further toward Bloomfield.</p>
</div></div></div><section class="field field-name-field-authored-by-secondary- field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Authored by (Secondary):&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/person/broglio-ron">Broglio, Ron</a></div></div></section><section class="field field-name-field-resource-index field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Resource:&nbsp;</h2><div class="field-items"><div class="field-item even">Reviews</div></div></section><section class="field field-name-opencalais-person-tags field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Person:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/category/person/capel-lofft" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Capel Lofft</a></li><li class="field-item odd"><a href="/category/person/elizabeth-hands" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Elizabeth Hands</a></li><li class="field-item even"><a href="/category/person/william-barnes" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">William Barnes</a></li><li class="field-item odd"><a href="/category/person/stephen-duck" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Stephen Duck</a></li><li class="field-item even"><a href="/category/person/john-clare" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">John Clare</a></li><li class="field-item odd"><a href="/category/person/ron-broglio" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Ron Broglio</a></li><li class="field-item even"><a href="/category/person/mary-collier" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Mary Collier</a></li><li class="field-item odd"><a href="/category/person/thomas-hardy" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Thomas Hardy</a></li><li class="field-item even"><a href="/category/person/seamus-heaney" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Seamus Heaney</a></li><li class="field-item odd"><a href="/category/person/patrick-kavanagh" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Patrick Kavanagh</a></li><li class="field-item even"><a href="/category/person/bruce-graver" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Bruce Graver</a></li><li class="field-item odd"><a href="/category/person/edward-jenner" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Edward Jenner</a></li><li class="field-item even"><a href="/category/person/ann-yearsley" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Ann Yearsley</a></li><li class="field-item odd"><a href="/category/person/debbie-lee" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Debbie Lee</a></li><li class="field-item even"><a href="/category/person/simon-white" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Simon White</a></li></ul></section>Thu, 10 Mar 2011 14:04:13 +0000rc-admin29738 at http://www.rc.umd.edu